Showing posts with label Audio. Show all posts
Showing posts with label Audio. Show all posts

02 August, 2009

Gear4 CDB-50 Portable iPod/CD Speaker System Review

Call it a next-gen ghetto blaster or a boom-box for the iPod generation, there's no question that Gear4's latest iPod speaker system looks like a revival of the sort of tape-based, mobile music system you would have found in teenage bedrooms throughout the 1980s - including mine! Of course, the glossy, piano-black finish is a little more classy than the old, dark-grey plastic favoured at the time, and the sweeping lines and graceful curves are a long way from the straight lines and peculiar ribbed areas adopted by the likes of Sony, Sanyo and (if you were really unlucky) Alba, but you can definitely see where the inspiration for the CDB-50 must have come from.

I sort of like the retro styling. My better half said it looked like a handbag, then asked if it came in a duck-egg blue, which (I'm guessing) means it might have some cross-gender appeal. Whatever you think, at least it's not yet another indistinguishable iPod speaker dock.

Nor are the CDB-50's retro leanings confined to its design. Remember CDs? You know, the round shiny things you slot onto your PC so that you can listen to them in Windows Media Player/Winamp/iTunes/Songbird or transcode them across to your favourite MP3 player? Well, the CDB-50 can play them too. Still listen to honest-to-goodness analogue FM radio? The CDB-50 will play that too, and there are no fancy pants digital presets, just a good, old-fashioned tuning dial. You can even ditch the mains cable and power the CDB-50 from eight - yes eight! - of those whacking great C-size batteries. Frankly, Gear4's latest seems to have one foot in the present, and one foot firmly in the past. For some of us, that's no bad thing.

The unit is fairly compact, at around 40 cm wide, 22 cm tall and 11cm deep, but heavier than you might think at just under 2.2Kg without batteries installed. Build quality is actually pretty good considering the price, and while I don't think the finish will last long in the wild without scratching, the CDB-50 isn't the sort of thing you'd be terrified about taking into the garden or (heaven forbid) the local park.

In terms of controls, Gear4 has kept things reasonably simple. You'll find a four-way input selector switch and a volume dial on the left side, the radio tuner and band selector on the right, and controls that double up for your iPod and the built-in CD player on the front, above a basic LCD status screen. On the top there's just the CD eject button, a pull-up antenna and a bass boost control.

It seems to me that the CDB-50 has been designed not to frighten those who might have had a portable CD player in the past and are now moving on to the iPod equivalent. If you used one of those, you can certainly use one of these. A tiny remote control is also provided, which allows more control over iPod menu navigation than the very basic onboard controls. However, it also feels fairly cheap and rather nasty and might as well have "please lose behind the nearest sofa cushion" written on the back.

Your iPod sits in a cradle between the two sets of speakers at the front, and three adaptors are provided to give support for iPods ranging from the iPod classic and iPod video to the third and fourth gen nano and the first and second gen touch (the iPhone isn't listed in the compatible devices). For those of you who aren't members of the Apple faithful, an auxiliary 3.5mm jack is hidden behind a flap at the back though - to be perfectly honest - I doubt you'd buy the CDB-50 if you didn't have an iPod to go in it.

Despite descriptions I've seen of the CD drive as slot-loading, your old discs clamp onto a more old-fashioned sprung spindle that hides beneath a locking flap on the back. As well as the basic transport controls (play, skip, etc) you can program tracks or select random play. Woohoo! "Is this really how we used to do things?" you might ask, but if you still actively listen to CDs you'll find these things comforting, and the only mild disappointment is that the CD player will only play straight audio CDs, not any MP3 compilations you might have knocking around.
Whether you're using your old CDs or your newer MP3s, there's one other way in which the CDB-50 reminds me of my old eighties boombox; it doesn't actually sound all that great.

Don't get me wrong - the sound is good enough for background listening at reasonable volumes, but if you want Hi-Fi sound from a compact box, the CDB-50 is no miracle worker.

At low volumes the sound is okay, but everything seems boxed in around the mid-range, with no sparkle at the top end, and very little in the way of bass. Here's where that bass boost button actually comes in handy, pushing the bottom end up so that you can hear, say, the bassline in Rilo Kiley's Under the Blacklight. All the same, it's a dull, muddy kind of bass, and not the sort of thing that makes you want to play Massive Attack or DJ Shadow. Vocals and acoustic guitars seem to stand up better, as a blast of Don't Let it Bring you Down from Neil Young's Live at Massey Hall proved, but throw anything heavy, complex or dynamically rich at the CDB-50, and it really does struggle to cope.

At higher volumes things improve slightly, and you're actually better off switching out the bass boost if you want a crisp sound. Tracks from Bat for Lashes' Two Suns album begin to come alive, and slick, pop productions from Take That or Justin Timberlake develop a little punch. Nonetheless, there's always that slightly plastic, boxed-in quality to the sound. The bass doesn't really cut through. The treble never shimmers or reveals much detail.

Listen to Aimee Mann's You Do from the Magnolia soundtrack and the vocals come through rich and clear, but the details in Jon Brion's idiosyncratic production are buried. Rockier tracks from Pearl Jam, Soundgarden and Mastodon are all mid-range mess with no dynamics, and you can forget about classical; the CDB-50 just doesn't have the subtlety or definition to cope. In general, if something sounds good on the average car stereo, then it's probably going to sound good on the Gear4 CDB-50. If it's the sort of thing you'd rather listen to on headphones or on your stereo back home, then it will probably just about sound okay.

This isn't a disaster, for the simple reason that at £70 I don't actually expect an iPod Speaker dock to sound incredible, and just about okay might do for a spot of kitchen listening when I'm doing the washing up. All the same, were I spending my own money I'd stretch my budget a little further to something like the Klipsch iGroove SXT or Gear 4's own BassStation. It might not have the portability or the cool retro styling, but give me sound over image any time.

31 July, 2009

Philips BDP3000 Blu-ray Player Launches

We've already given the BDP3000 the briefest of mentions in our BD Live Blu-ray Player Preview but now that it has been 'properly' announced by Philips those of you who prefer reading the novel to the Cliff's Notes (or more likely Wikipedia, more recently) will doubtless appreciate some further info.

Click to enlarge

As you may already know the BDP3000 - a BD Live-compatible Blu-ray player - is the little brother to the excellent BDP7300 but priced to compete better with the budget market inhabited by the likes of the Sharp BD-HP21H with its £169 (estimated) price tag. On the BD Live front it should be mentioned that there's no local storage, but a USB port is present for adding it should that be desired.

In addition to Blu-ray playback - with 24Hz support - the BDP3000 will upscale DVDs to 1080p and decode DivX video files. On the audio front one compromise is evident as though Dolby TrueHD decoding is supported the same cannot be said of DTS HD Master Audio. Whether those on a budget - and therefore more likely to be considering the BDP3000 - would have a sound system to warrant such codecs is debatable, so consider that merely an observation rather than a criticism.

It's a pretty short feature list, but at given the price point Phillips is aiming for and the consideration that most buyers will never want for any more capability it's hardly a bad one. Feel free to grab a BDP3000 of your own if you agree, as it's available now.

30 July, 2009

Creative Unveils Android, Multi-touch Zii MP3 Player

Could this be the device to slingshot Creative back into the heart of the MP3 player scene?

The recently docile company has announced the 'Plaszma' - yet another criminal attack on our children's attempts/ability to spell, but also an iPod touch rival which calls upon the power of its much hyped Zii chip and Google Android.

The result of these tempting ingredients is startling. The Plaszma features a 3.5in 10 point multi-touch screen with customisable gestures, enough raw processing power to output 1080p high definition video and OpenGL ES compliance that can take advantage of its remarkable 42 million textured pixels/sec fill rate. Beyond this are two cameras - a front facing VGA and a rear facing 'HD camera' capable of capturing high def video footage (720p/1080p unknown).

Surprisingly we are just getting started too since you'll also find WiFi, GPS, Bluetooth with 2.1 and EDR for wireless music streaming, an ambient light sensor and an accelerometer. Internal storage will offer anywhere from nothing to 32GB and this can be augmented via a 32GB compatible SDHC expansion slot. Even the sound quality should be something out of the ordinary with Creative's proprietary X-Fi audio processing.

And we haven't even touched upon Android. Creative will give users a choice to either run its own custom Plaszma OS or Google's open source platform - the latter being far more exciting to my eyes. The Opera 9.7 web browser will be there for your surfing needs too.
Omissions? There aren't many but HDMI would have been nice instead of composite and its seems current technology flavour of the month the digital compass has been skipped over. We also don't know what kind of battery life the Plaszma will provide. That said the whole package weighs just 108g (7g lighter than an iPod touch).



nterestingly, Creative is taking a very different approach to market with the Plaszma. It will target developer communities and manufacturers and sell to them in bulk with prices starting from just $199 (£140) for a Plaszma without internal storage in volume quantities. From here the players can be customised and sold to the public which means Creative takes a step back in the distribution chain. So fingers' crossed there will be substantial interest.

Could the Zii ultimately do for Creative what webOS did for Palm? Potentially...

Link:
Press Release

Pioneer DVD Home Cinema Range

Pioneer is bolstering its already comprehensive AV range with three new DVD home cinema systems. The additions consist of two 5.1-channel systems, the DSC-590 and DSC-585 (pictured) and the 2.1-channel DSC-FS30.

The DSC-590 and DSC-585 differ in the type of speakers on offer, tallboys with the former and satellites with the latter with the DSC-FS30 featuring slim, height adjustable speakers in addition to the same subwoofer as shared by all three systems. Dolby Digital and DTS audio decoding is supported across the line-up and the DSC-585 and DSC-590 also include a "Multi-Channel Acoustic Calibration system" which adjusts the systems' speaker outputs to suit the installed environment.

DVD up-scaling to 1080p is possible, and all three players support DivX video. A front-mounted USB port on all three systems facilitates the playback of media files with mp3, WMA and AAC audio supported. CDs can also be ripped to mp3 files on a USB storage device. All three systems can be upgraded with a Bluetooth module, making it possible to stream content from a laptop, mobile phone or media player using A2DP.

The DCS-590, DCS-585 and DCS-FS30 will be available in August, with pricing to be given nearer launch.

Link:
Pioneer.

26 July, 2009

Vizualogic RoadTrip Universal Dual Headrest DVD System


Product Summary

The good: The Vizualogic RoadTrip Universal Dual Headrest DVD System installs so easily in an afternoon. A built-in DVD player and SD card slot allow the RoadTrip to operate as a standalone system. Integrated FM transmitter and AV outputs and inputs expand the system's flexibility.

The bad: Slightly grainy quality to video. IR remote headphones have a very short range. Instructions for installation are inaccurate in a few places. SD card media playback doesn't support video.

The bottom line: The Vizualogic RoadTrip Universal Dual Headrest DVD System is a simple and inexpensive way to add rear-seat entertainment to any vehicle with removable headrests using only basic hand tools.

  • Reviewed on: 07/22/2009

The Vizualogic RoadTrip Universal Dual Headrest DVD System is quite easy to install, requiring no custom fabrication or permanent modifications to the vehicle. We were able to install our system in an afternoon using only a pair of screwdrivers, a set of hex key wrenches, needle-nosed pliers, a wire stripper, and a set of wiretaps.

The appeal of the Vizualogic system, beyond its installation, is that it is a completely self-contained system. The system will even operate in a vehicle that doesn't have a radio. Just pop a DVD into the integrated player, don the included wireless headphones, and enjoy.

Design
In the box, you'll find two black headrests with integrated 7-inch LCD touch-screen monitors. If black doesn't suit your vehicle's interior, the unit also ships with a pair of tan and a pair of grey covers that can replace the black. While the two headrest units look identical, only one of them houses a DVD player and an SD card slot behind its screen. Pressing on the touch screen's bezel causes the screen to release and open forward, revealing the media slots.

A hideaway module has connections for wiring harnesses for each monitor, power connections, a single set of RCA inputs for video and stereo audio, two sets of RCA outputs for video and audio, and an FM antenna.

The unit also ships with an IR remote controller that should be familiar for anyone who has used a DVD player, and two pairs of wireless headphones that operate using infrared signals received from the monitors. The headphones feature a power switch with settings for Off, A, and B, and must be set to the proper channel for the driver- or passenger-side monitors. Each set of headphones also includes a volume control dial and a hidden battery door for the two AAA batteries required to power them. Batteries are included.

Wiring harnesses for the monitors, power cables, zip ties, and headrest post shims round out everything one should need to install the Vizualogic RoadTrip.

Features
The Vizualogic RoadTrip has all of the features that one would expect from a DVD player, such as the ability to display subtitles or switch between multiple audio tracks and video angles. Most of the DVD playback functions are activated using the included IR remote.

The touch-sensitive screen can be used to call up menus to adjust the image quality, volume, or to navigate DVD menus or file trees. The interface is a bit clunky and, with light text over a translucent background, can be a bit difficult to read. Because the unit lacks any physical controls, the touch screen is the only way to interact with the RoadTrip if you lose the remote.

The SD card slot is hardly mentioned in the supplied documentation and no mention is made of the formats that it supports. Through trial and error, we were able to view JPEG photo slideshows and play back MP3 files, but we weren't able to find a supported video codec.

Performance
Installation is actually quite simple and requires only basic hand tools and a little know-how. More than enough cable is supplied to make the connections for the monitors and for power, which will come in handy for installs in larger vehicles. However, the included installation instructions are inaccurate at certain points. For example, it's stated that the riser posts are adjusted by loosening a screw with a Phillips tipped screwdriver, but upon closer inspection we found that a hex key was required.

Once powered up, we were quite pleased with the standalone nature of the Vizualogic RoadTrip. Everything that you need to get started is in the box; just pop in a DVD and start watching. We feel that the SD card is definitely under-utilized in the RoadTrip and we would have liked to see more types of media supported, specifically video.

Video quality is only OK. The colors popped quite well, but video had a grainy quality with slight ghosting on the motion if you looked hard enough. The video is easily watchable in daylight, but direct sun will cause a good deal of glare and washout on the matte finished screens.

Audio quality from the RF wireless headphones was good, as long as we stayed directly in front of the monitor and had the proper RF channel selected. Moving too far to either side of the monitor or losing line of sight caused the audio to drop, at best, and to be harsh static, at worst, so you won't want to get too far from the back seat with them on. Physical volume control directly on the headphone allowed for quick and easy adjustment.

Audio quality from the integrated FM transmitter is about as good as can be expected from any FM transmitter, which is to say not very good at all. The audio quality may be better in rural areas with fewer stations or in parking structures that block weaker signals, but during our testing in the San Francisco area we were unable to acquire a clear signal.

A better way to use your vehicle's speakers would be to use one of the sets of RCA outputs to connect to an aftermarket stereo. The single set of RCA audio/video inputs allows for an additional source to be connected, such as a video game system.

In sum
We ran into a few snags during our installation of the Vizualogic RoadTrip, but we feel that anyone with an intermediate level of experience with car audio could install the system in almost any vehicle with removable headrests in an afternoon.

The system's all-in-one design earned it high design points, but we had to ding a few points for an unintuitive remote controller and touch-screen interface. Multiple sets of audio/video outputs and inputs and the SD card slot's media playback function add to the RoadTrip's flexibility, but the omission of obvious functions--such as video playback from SD cards--prevents the Vizualogic system from achieving too high of a features score.

With an MSRP of about $999 and a street price of about $700, the Vizualogic system isn't exactly cheap. However, when you consider the cost of purchasing and installing all of its components separately, the Vizualogic RoadTrip represents a pretty good value.

24 July, 2009

Devotec Unveils First Solar Powered Bluetooth Speaker

If the name 'Devotec' is familiar that's because it has established a solid rep as a manufacturer of solar chargers for, well... just about everything! This however is clearly the next step in its evolution.

The 'Solar Sound' capitalises on all the company's solar experience to create the first solar powered wireless Bluetooth speaker. So how practical is it?

In short: very. The speaker is fitted with a 150mA solar panel which at full charge can last up to eight hours on medium volume or four hours at full volume while recharging just involves leaving it in any form of light. Recharging takes between 12 and 24 hours for the solar panel or just four when hooked up to the mains.

n terms of compatibility the Bluetooth standard means it will work with virtually any Bluetooth equipped handset or MP3 player and since it has A2DP bass response will be improved if the connecting device sports the same. Audio can be controlled either directly from your device or using the touch button controls. Furthermore, if Bluetooth doesn't appeal a 3.5mm headphone jack will come to the rescue. Finally, making the Solar Panel even more flexible is the inclusion of an integrated mic which means it can be used as a hands free car kit when driving.

As for sound quality, given the Solar Sound is designed to be very portable (165 x 55 x 55m and 260g) it won't be shaking any walls but a pair of 2W speakers should be plenty enough for some peaceful garden listening or audiobook enjoyment.

If all this sounds rather tempting then the price shouldn't put you off at £59.99 and it's available from the company's site from today. Let's hear it for the sun!

Link:
Solar Sound Product Page

19 July, 2009

NaturalPoint TrackIR 5 Review

While there's no doubt that a percentage of the hardcore games market has abandoned the PC for the Xbox 360 and PS3, there are a few niches where the big old box will always reign supreme. For fans of simulations, for example, consoles will never really make the grade. Only a certain kind of PC gamer has the thirst for ultra-realistic portrayals of aviation, air-combat or racing, but it's this audience that's most willing to put no-compromise, no-holds-barred accuracy above gorgeous eye candy or immediate enjoyment. These are the people who have kept the likes of Simbin (GTR), Bohemia Interactive (ARMA: Armed Assault) and 1C (IL-2 Sturmovik) in business, and who continue to support smaller independent simulations like rFactor, Live for Speed, X-Plane and Condor. These are also the people who are prepared to shell out for additional gadgets and gizmos that will make the experience more lifelike, whether fully-featured, force-feedback steering wheels and joysticks, mock-up racing cockpits or triple-monitor adapters. If you're one of them, then there's a good chance that you've already heard of NaturalPoint, and heard of TrackIR.

Now in its fifth iteration, TrackIR is a system designed to turn real head movements into virtual head movements. It works with a number of games that provide a virtual cockpit view, and it effectively uses your head as a kind of mouse-look, or like the old ‘coolie hat' controller on a proper flight-sim joystick. Turn your head left, and your view in-game rotates left. Turn right, and your view rotates right. Tilts of the head up and down work along similar lines. However, TrackIR goes further. In games with full support for all six degrees of movement, you can raise your head up and lower it down, lean left and right or move backwards and forwards, and your view adjusts accordingly. And as the system exaggerates small head movements into big ones in-game, you never have to turn so far that you can't see the screen. It might not be quite as convincing as being surrounded by a bank of monitors in a serious, commercial simulation, but it's certainly more immersive than the usual static view.

The actual kit consists of two main pieces; a USB infrared camera which sits on top of your main monitor, where it's held by a simple adjustable mount, and one of two ‘TrackClips.' The first is a passive clip with three reflective areas which hooks onto the brim of a baseball cap. The second - the TrackClip Pro - is an active unit that clips onto the left-hand side of your gaming headset and communicates with the camera and computer via USB. In either case, setting up TrackIR isn't much of a problem; you install the software, connect the camera and the TrackClip, and it pretty much works. The only thing you may need to do is download a patch or an update for any games you want to play with the thing, though some - like Arma: Armed Assault II - work right out of the box.

There are a few practical issues in terms of everyday use. First, the passive clip had a tendency to fall off my own hat (though this might be the design of my hat), while the alternative TrackClip Pro is rather cumbersome and weird looking. Get it out at the average LanParty and it might look like you’ve tried unsuccessfully to spawn antlers. Also, I had to either sit lower than my usual sitting position or raise the monitor in order to get the camera and clip to work correctly. In my comfy gas-lift office chair, that’s not a problem, but there’s a chance it might be for you.

A utility is provided for setup and calibration, and you can use this to get a feel for how the system works. There’s a sphere view to give you an idea of how the tracking works in relation to your head movement, while 3D wireframe models of a human head help you check how your movements will be reflected in-game. There are easy adjustments for smoothness and speed of movement, and you can create custom profiles and set them for use with specific TrackIR supporting titles.

Here’s where there’s some room for disappointment: while there is a facility to make TrackIR function as a no-frills mouse-look, the technology really only works with games that have been designed or patched with the system in mind. Looking at the list you’ll see a number of big brand names - ARMA and ARMA II, Flight Simulator X, GTR2, Race 07, Tom Clancy’s HAWX, Colin McRae: DIRT, Race Driver: GRID and others - but the list is mostly restricted to serious sims. TrackIR would lend itself to other games - Far Cry 2, Battlefield 2 and Ghost Recon: Advanced Warfighter spring to mind - but they won’t work correctly unless NaturalPoint can convince the developers to do the work required. The company is clearly working hard to do so, but while budgets stay tight and the technology remains niche that might be an uphill struggle.

And that’s a shame, because where it works TrackIR can be very impressive indeed. I tried it with a selection of games, including X-Plane (the popular hardcore indie flight-sim) Colin McRae: DIRT, Arma II, Race 07 and Future Pinball. While the technology takes a little getting used to, it definitely adds a new layer of immersion to the experience.

It’s in racing games that it’s initially most appealing. With Logitech G25 steering wheel in hand and Race 07 on the screen, at first the TrackIR feels like a distraction - just another thing to stop me getting my Seat around Monza in one piece. After a few practice laps, however, something changed, and I started using the virtual cockpit view to peer towards the next corner or even improve the view as I spin the car into it - a bit like I might in a real car. It also adds to the excitement of pushing through the pack once race day comes; there’s nothing like flicking your head left to peer at a rival as you pass, even if there’s only a fraction of a second to spare as you speed your way into the next turn.

DIRT is a little more challenging, if only because the view through the windscreen with the helmet cam (the only view TrackIR suports) is already quite restrictive. Again, though, TrackIR adds an extra sense of immersion to the game. Checking left and right and trying and peer around oncoming corners is pretty cool and surprisingly useful, as is being able to look out nervously at the occasional steep drop off to your left. It also makes you wish the game put more effort into animating your co-driver. When I turn right and take a look as we’re ploughing towards a steep, tree-lined bank at 60mph, I really expect to see a little emotion on the guy’s face.

Of course, TrackIR was originally designed with flight simulators in mind, and a quick run on X-Plane gave me some indication why. Not only is it very easy to glance down and check the instruments, just as you would in a real plane, but it also makes it easier to check the views out from all the cockpit windows without having to mess around with the coolie hat or hotkeys. It’s also easy to see why TrackIR might give you an edge in combat flight sims, where all-round awareness can be a factor on who survives a dogfight, and who ends up spinning in a smoking mess towards the ground.

Future Pinball isn’t quite such a showcase for TrackIR, but the hardware does add something when you play a table. Just as in real pinball, you need to flick your gaze rapidly between the flippers at the bottom of the table and the various targets, switches and hotspots nearer the top and while this sometimes proved a challenge for the tracking mechanisms, producing a small amount of lag, there was again something more lifelike about the experience. It won’t change your life, but it’s cool nonetheless.

However, it’s Arma II that really sells TrackIR for me. I’ll admit I’m not a huge fan of the game or the realistic military sim genre; once you go beyond, say, GRAW and GRAW2, I find the extreme difficulty levels and rather unforgiving gameplay a bit aggravating. Nor is Arma II the easiest game in the genre to get to grips with, hampered as it is by less than intuitive controls and some rather long-winded game mechanics. All the same, TrackIR makes the game absorbing and exciting enough for me to get over these issues for a while. The look mechanism has cleverly been isolated from control of direction and targetting, meaning the mouse remains in control of your heading and your sights, even when you have your head turned to face a completely different direction. As a result, you find yourself racing through the brush in some godforsaken Soviet land, sneaking peaks left and right to check on the whereabouts of squad mates, and using your head to maintain a greater awareness of your surroundings and any lurking dangers therein. And when helicopters speed overhead or the bullets start whizzing over your shoulder, frantically scanning around just adds to the game’s taut atmosphere. If only NaturalPoint could bring TrackIR to Battlefield or Call of Duty, I suspect the results would be fantastic.


It’s also worth pointing out that TrackIR works with multi-monitor setups, and while I had to make do with a single 22in screen, I suspect that having a large horizontal view to work with should only add to the sense of immersion.

All very good, then, and if you’re heavily into your sims and you already have the flightstick, the steering wheel and the triplehead setup, then TrackIR probably is the next logical step. However, it’s not a cheap step, and given the relatively small number of games supported - and many of them quite obscure - this leaves me with a quandry. At £140, does TrackIR represent good value for money? Just about, but it could do with being a little cheaper - even compared to most yokes, steering wheels and flight-sticks this is a pricey bit of kit, and the aforementioned products will typically work with a much larger number of games. And while it’s easy to see where the money has gone with a G25 steering wheel or a flight yoke, throttle and pedals, nothing about the TrackIR makes it feel all that expensive.

But games support is really the crucial issue. The best thing to do is take a look at the[linkout:http://www.naturalpoint.com/trackir/03-enhanced-games/enhanced-games-all.html list of supported games. Run down the list and see how many of them you are still really serious about playing, and how many you’ve forgotten, never known about or left behind. If you’re still putting serious hours into one, two or more, then buying the TrackIR kit makes sense. If not, then a better monitor, a new controller, a new graphics card or maybe just a few more games will probably get you more for your money. For serious sim-heads, then, TrackIR is an attractive if pricey proposition. For the less committed, it’s an interesting technology, but one that needs a smaller price tag and a longer list of supporting games to convince.

13 July, 2009

JBL Duet III



Product Summary

The good: Attractive, modern design; decent clarity and sound quality.

The bad: The Duet III's are a little short on bass; no auxiliary input for a second audio device.

The bottom line: While the JBL Duet III speakers just don't have a lot of oomph to them, they look good and offer decent sound.

Specifications: Type of speaker: PC multimedia speakers ; Dimensions (WxDxH): 4.6 in x 4.6 in x 12 in ; Color: Black

Price range: $149.99

  • Reviewed on: 07/13/2009

CNET reviewed the JBL Duet II PC speakers earlier this year and had some good things to say about them, though we did think they were a little short on bass. Now we got our hands on the step-up model, the Duet III, which offers the same design but the speakers are blown up in size by about 25 percent.

The package includes zeppelin-shaped speakers measuring 4.6 inches by 4.6 inches by 12 inches (the Duet IIs are 10.5 inches tall). Their fronts have a metallic silver mesh (read: cloth) covering the speaker grilles while their backs have a glossy black finish. They're attractive, modern looking, and go particularly well with iMac models that feature an aluminum finish.

The speakers themselves are fairly lightweight--the left speaker weighs in at 1 pound, 3.5 ounces and the left at 1 pound, 6.5 ounces--but they're not totally unsubstantial. JBL has conveniently placed a volume control on the top of the right speaker that when turned all the way to the left, shuts off the speaker.

As Jasmine France noted in her review of the Duet IIs, the Duet series has kind of a funky cable set up. She describes it as such: "Coming off the left speaker alone, you have three cables: one for power, one to attach to the right speaker, and one for the audio source. The right tower features just one cable to connect it to the left. On the plus side, the overall length of 7.5 feet should be plenty for most setups." The speaker-to-speaker cable connects with a standard RCA plug, so you could even theoretically extend it further. Meanwhile, the audio source cable, which terminates in a silver-plated 3.5mm straight plug, measures 66 inches.

We didn't mind the Duet's cable system as much as she did, but it's too bad that the speakers don't have an auxiliary input for second audio device. In other words, to use the audio source cable with another device, you have to unplug it from your computer. A lot of PC speakers offer both an audio source cable for connecting to your computer, as well as auxiliary input for attaching a second device (or second computer).

The Duet III exhibited similar traits to its smaller brother. Overall, the speakers offered decent clarity and sounded good, but they were a little short on bass and just didn't have much oomph to them, even at higher volumes. That said, because their bigger size, they do offer slightly more bass than the Duet IIs and sound better overall. We liked their sound but weren't wowed by it. (Bass aficionados should consider a 2.1 speaker package that has a dedicated subwoofer--and, of course, even more wires.)

These PC speakers would be hard to recommend at their list price of $149.99, but Amazon has them on sale for $85, which is nice discount (see Editors' note below). By comparison the Duet IIs sell for about $75 at Amazon, which isn't bad either. However, if you were choosing between the two, we'd say step up to the Duet IIIs. The extra $10 is worth it.

Editors' note: To get the discount at Amazon (as of July 13, 2009), you have to add the product to your cart for it to show up with the reduced price.

12 July, 2009

How to: Get the most out of your subwoofer


I recently participated in a Podcast focusing on subwoofer performance with Home Entertainment magazine's Editor-in-Chief Geoff Morrison, Director of (loudspeaker company) Revel Products, Kevin Voecks, and Brent Butterworth, a freelance writer for a number of magazines including Sound & Vision.

Voecks immediately zeroed in on the importance of placement, which is absolutely crucial to getting the best out of any sub. I'd go so far as to say an average sub, perfectly placed and set up, will outperform a great sub that's been carelessly placed and set up. That's because the sub's interaction with room acoustics can play havoc with sound, all too frequently resulting in boomy, uneven bass.

True, you can get away with that to a degree if all you're trying to do is add oomph to movie soundtracks, but a muddy-sounding subwoofer will muddle the sound of music. Some call it "one-note bass," and subwoofers that sound like that bug me.

You don't get to hear much from me on the Podcast for quite awhile, so I'll cut to the chase: Buy the biggest subwoofer you can stand. Or to put it another way, there's no way a 1-foot cube sub will ever outperform a substantially larger, but less expensive, sub (say 15 inches tall by 15 inches wide by 20 inches deep or larger) when it comes to pitch definition and bass clarity. Just want boom? The mini subs will be fine. Want musical bass? Get a bigger sub.

Pure Move DAB/FM radio review


The Pure Move DAB/FM radio is very portable and offers good sound quality for the size

Pure's new palm-sized DAB/FM portable radio, called Move, has been designed with outdoor use firmly in mind. It'll happily pop in your pocket, but it also has a rear-mounted, hinged stand when it needs to be standalone.

Perhaps the most notable feature, however, is the incredible battery life. Use the supplied Li-on-equipped ChargePAK and the Move will provide over 40 hours of portable DAB listening from a ten-hour charge. A power adapter is included, too.

Move covers both digital and analogue bands, with full DAB III reception and decoding up to 192kbps. It offers ten presets each for DAB and FM and has a useful number of additional features for its size (width 15cm height 8.5cm, depth 2.7cm) and price.

These include a 3.5mm auxillary input, headphone output and something called textSCAN, which allows users to pause and control DAB scrolling text – useful should you need to 'name that tune'. FM benefits from RDS and there's also a USB input for future updates via PC.

Build quality is excellent: the fascia boasts a brushed-aluminium finish which fronts a soft-touch rubber main chassis. A central toggle switch controls volume, station search/select and textSCAN and there is a further pair of two-function control buttons that delve into menu, presets, info and DAB or FM operation.

Move's key-press-activated, orange-backlit LCD display is small, but legible and can be left permanently on if required. It displays 16x2 characters, plus a number of function icons. As part of Pure's EcoPlus family, the company claims an impressive 0.95-watt power consumption for Move, which might make you feel better in your main hi-fi is 'always on'.

Sound quality

Hi-fi it ain't, but let's get some perspective here; as palm-sized, ultra-portable radios go, Move has a very appealing sound quality, if in the classic 'tranny' mould. It's 50mm drive unit gives a typically small-scale bandwidth that eschews the frequency extremes and instead favours the all-important speech band.

Legibility with the spoken word is, therefore, very good. With headphones attached – we used our real-world reference Sennheiser HD 650s (£400) – the sound comes alive and shows the strength of Pure's electronics expertise; lets not forget that with the Evoke-1, Pure started the whole DAB thing off.

Go back to the internal speaker, however, and the lack of bass is inevitable. Orbital's Halcyon (from the new hits album, 20) at 128kbps on DAB had plenty of midrange drive and high-frequency bite, but was notably bass-shy. That said, Move has to be put in context – it's a 280-gram radio after all.

A move to Radio 3 in FM (test location five miles from the Wrotham mast in Kent) and things step-up, as you might expect. The gulf between FM and DAB – even at 192kbps – becomes obvious, especially with the HD 650s. Following a tune with the Move is easy, but speech is where it performs best.

For the money, Move is certainly fair value, especially when considering the built-in proprietary ChargePAK. In fact we've yet to come across a better-equipped, better-built radio with these tiny dimensions. It might not be bargain territory, but the superb construction, great feature count and two-year warranty certainly makes it worthy of a Best Buy badge in our eyes.

11 July, 2009

Panasonic SC-BT205 Blu-ray home cinema system


History tells us that one-box home cinema bundles rarely match the quality of a decent separates system, but for sheer convenience they simply can’t be beaten. And when it comes to Blu-ray, convenience and set-up simplicity are even more vital, given the potentially brain-frazzling compatibility issues surrounding Blu-ray’s HD audio formats.

So it’s with that in mind that we say hello to the SC-BT205, one of Panasonic’s latest all-in-one Blu-ray home cinema systems. It comes with a combined Blu-ray player/receiver unit, which serves up 1000W of audio power as well as decoding Dolby True HD and DTS HD Master Audio, plus you get a set of four tallboy speakers, a centre speaker and a passive Kelton subwoofer.

While it’s not the most jaw-dropping system we’ve ever seen, its mirrored fascia injects a touch of high-tech bling and the black finish elsewhere is tasteful enough. What’s less forgivable though is the hollow, plasticky build quality of the main unit and speakers, which is not what you expect at this price.

The main unit’s front panel is a carnival of connectivity. Not only does it boast an SD card slot and a USB port, but there’s also an iPod dock that slides out from the middle of the fascia. With your iPod hooked up you can use the system’s onscreen menus and remote to play your music, videos and photos.

The SD card slot can be used to play AVCHD, SD video (MPEG2) and JPEG files, or you can shove a flash drive into the USB port and enjoy DivX, MP3 and JPEG playback – but there’s no support for WMA, DivX HD or MKV.

The rear panel sadly lacks HDMI inputs but there are two optical digital inputs and an analogue stereo input to cover your other equipment. Among the other sockets are HDMI, Component and Composite video outputs and an input for the FM radio tuner.

If you’re repulsed by the sight of cables then you can even install an optional wireless kit (SH-FX70), which sends surround information wirelessly to a receiver at the back of the room, which in turn is connected to the rear speakers.

And because the system’s Blu-ray deck is a fully-fledged Profile 2.0 affair, you’ll also find an Ethernet port on the back that lets you download bonus movie content, as well as view YouTube clips and Google Picasa photos through the Viera Cast web portal. On the downside, you have to load up an SD card to store BD Live downloads as there’s no built-in memory.

The features don’t stop there – there’s a range of sound modes to play with (including Dolby Pro Logic II) and the system is equipped with the superb UniPhier chip, which uses P4HD processing to pull all the picture strings.

Set-up is a piece of cake thanks to the colour-coded speaker terminals and the Smart Setup mode, which sets all the sound parameters automatically using a microphone and a series of test tones. You also get a top-drawer remote, which boasts perfectly-sized, clearly-labelled buttons.

Just like Panasonic’s superlative DMP-BD60 and BD80 standalone players, the SC-BT205’s picture quality is impeccable. The depth, solidity and unadulterated clarity of the picture is a wonder to behold, making good quality Blu-ray transfers like The Dark Knight or Mamma Mia! look absolutely spellbinding.

It’s also a dab hand on the sonic front, with the speakers’ bamboo cones blasting out Dolby True HD and DTS HD Master Audio tracks with rare relish. It’s miles better than the hard, tainted sound of last year’s SC-BT100 – the sound is richly detailed, smooth and packed with plenty of oomph in the bass department, although the sub does get a little overbearing at times and could do with being a bit punchier. On the whole though, it’s a masterful performance by typical one-box standards.

10 July, 2009

Chord Company Indigo Plus review


Indigo Plus is a flagship interconnect with plenty of diversity


The Chord Company makes an enormously wide range of interconnects and other cable types, Indigo Plus being the reassuringly expensive cream of the crop.

It is available in various fixed and custom lengths and is also comes with fittings other than the single-ended phonos on our test cable, including XLR balanced and DIN.

Indigo Plus is based loosely on The Chord Co's Signature Plus and is constructed similarly, except that Indigo uses stranded silver-plated copper conductors – Signature uses solid cores – and a better-quality Teflon dielectric.

Indigo Plus incorporates two separately insulated cables which are linked at each end and provide separate primary and secondary signal return paths. The secondary signal return is also multi-stranded and the cable is said to have an extremely wide bandwidth.

The secondary return path is said to enhance timing, dynamics, detail, depth, soundstaging and noise rejection, though a balanced cable construction will be superior in this respect; if your main system is appropriately equipped.

The connectors are extremely firmly anchored, and look as though they will sustain a lifetime of hard knocks, which is not always the case even with some very costly cables from elsewhere.

One aspect of this cable that we were less than happy about was its stiffness. It won't bend easily around tight corners, while the last few inches behind the plugs will barely bend at all. One of the most appealing elements of the Indigo Plus, however, is the use of low-mass, silver-plated RCA plugs, with vibration damping acrylic plug casings polished to a pleasing mirror-finish.

Sound quality

We were pre-warned that Indigo Plus takes a long time to run in, so it was used continuously for more than a week (with the volume setting at zero) before putting it to the acid test.

The main test bed was the flagship Denon CD/SACD player and amplifier pairing, the PMA-SA1 and DCD-SA1, with a Nordost Valhalla balanced interconnect, the unused cable removed from the active circuit when not in use.

Other components included Monitor Audio Platinum PL300 speakers and Atlas Mavros speaker cable. Concerned about the stiff cable construction, we did check for microphony, but without success. This doesn't necessarily mean it is not an issue, but it is certainly not a dominant concern.

By any standards, this cable is very good though as so often in its class, the distinguishing characteristics can be subtle and system dependent. It may not be ideal for Naim systems, for example, though there is good reason to believe it works well with Denon and other similar makes.

It is a very clean, transparent-sounding cable, with a clear, translucent treble, which is slightly brighter and less muscular than some comparable cables, such as the Atlas Mavros (which, unlike the new Atlas Asimi cable, was available for comparison).

The bass is also extremely fine; characteristically lean in balance (perhaps, just in contrast to the treble) there is no perceptible bloom, but we did feel it was not quite as subtly nuanced as a Nordost Valhalla balanced cable. However, this may have more to do with the balanced operation, which is partly determined by the occluding effect of the treble.

Stereo imagery, on the other hand, is always very precisely articulated Coming to a balanced assessment of a cable as costly as this is far from easy and the bottom line depends critically on the character of the host system. But this is a thoroughly dynamic and musical cable which shines in high-resolution, high-end systems.

Tannoy Definition DC10T review

A large, muscular, elegant and contemporary variation on the Dual Concentric loudspeaker theme



The Tannoy DC10T is the largest of three Definition series models, which are a very different proposition from the range that carried the same name back in the mid-1990s.

At £5,000 per pair, this is an unquestionably costly loudspeaker, but it's also a very substantial and beautifully built one. The DC10T name translates as follows: the 'DC' bit refers to the Dual Concentric drive unit that does most of the work; the '10' refers to the size (in inches) of both drive units; 'T' is for Tower, the type of speaker we usually refer to as a floorstander.

The DC10T is actually a two-and-a-half-way design, with two 10-inch (254mm) drive units. The Dual concentric driver combines a 180mm paper bass/mid cone with a 25mm hornloaded tweeter that fires through the centre of the cone, so it's effectively a two-way full-range drive unit.

A bass-only drive unit of similar size and construction sits below the DC unit, to ensure plenty of low-frequency output. one interesting detail is that the surrounds of both these drivers are made from heavily doped fabric and formed into a 'double-S' profile.

This rather old-fashioned technique has been coming back into favour recently, as it seems to have less hysteresis than the more common rubber surrounds. Subjectively, this seems to give greater 'speed' at some expense in terms of coloration.

The earlier, more costly Dimension series feature an extra external super tweeter, but the WideBand tweeter used in this Definition model has a 25-micron, titanium dome that extends its frequency response to 35khz. The tweeter horn is the latest version of Tannoy's 'tulip waveguide' and, incidentally, keeps the delicate parts well away from prying fingers and accidental damage.

Other engineering features include a crossover network whose components have received deep cryogenic treatment, while internal wiring is silver-plated, high-purity copper. Twin terminal pairs are fitted for bi-wiring or biamping, plus a fifth terminal that may be used to earth the driver chassis to the amplifier – allegedly reducing RF interference and enhancing dynamic range.


Cryogrnics

The internal wiring of the DC10T has been cryogenically treated for better conductivity

All this considerable engineering is packaged into a large, very elegantly shaped and beautifully finished enclosure, with notably crisp and clean contemporary lines. Our samples came in a high-gloss black finish, dramatically contrasting with the silver trim around each driver and near the base, but dark walnut and cherry (again high-gloss) are slightly less extreme alternatives.

The relatively large main driver means that this speaker has to be quite wide and also fairly tall (in order to get the tweeter horn up to seated ear-level). Behind the consequently rather imposing front panel, the sides are strongly curved towards a much narrower back, so that reflections and internal horizontal standing waves should be nicely dispersed. Two large ports are also mounted on the narrow rear panel.

The grille is held in place by magnets concealed beneath the front panel surface, which are invisible if the grille is not used. Under the surface, the body is constructed from high-quality plywood, made from dense birch grown in cold regions of the world. The bracing incorporates Tannoy's Differential Material Technology (DMT) techniques to couple the driver/enclosure interface rigidly and with appropriate self-damping.

We have one minor criticism, however, regarding the spike floor-coupling arrangements. Although they are well-handled, the narrow back does compromise stability. A plinth would enhance both appearance and stability, though a rear outrigger would be sufficient to improve the latter.

Sound quality

Ports tuned to a low 28hz, plus two large 254mm bass drivers ensure that the DC10T delivers more than ample low bass, even when sited well clear of the walls in our reasonably large (4.2x2.6x5.5m) listening room. Indeed one can fairly argue that the DC10T delivers rather too much bass below 75hz under our listening conditions, but this doesn't really prove a problem subjectively in practice, because the quality of the bass is mostly very good.

Provided the amplifier and speaker cables are up to the task, it sounds powerful as well as entertainingly agile, albeit with just an occasional hint of chestiness. The caveat is important because the load drops to a very low three ohms at low frequencies, which is really too low for comfort. However, the practical implications are difficult to assess, because the sensitivity across the same bass frequencies is very high indeed, of the order of 95-97dB.

The overall midband sensitivity is pretty generous at around 91-92dB, so even low-power amplifiers should deliver decently high listening levels without distress. The greater worry is the possible influence of the speaker cables, which must be low in resistance (either short, or with a good cross-section of conductor). Although sensitivity is high and the overall balance above 100hz is pretty well-ordered, it's not particularly smooth and the far-field 'power' response shows a quite obvious dip at the mid-to-treble crossover point (1.5khz).

The DC10T might not, therefore, be the most neutral speaker on the block. certainly, voices do sound a bit shut-in, with some 'cupped hands' coloration, but a few minutes playing music quickly makes one realise that those factors are not necessarily the most important ingredients in making music sound interesting, involving – and fun. Indeed, as soon as the speakers are connected up to music sources, their 'fun factor' comes through strongly.

This is an immensely entertaining loudspeaker, thanks to a combination of fine overall coherence and excellent dynamic capabilities. Few speakers can match its ability to define dynamic contrasts and hence convey the musical expression that is an innate part of tight dynamic control.

Most of the listening was carried out using Vertex AQ speaker cables from a Naim NAC552 preamp (NAP500 amplification), fed from a CDS3/555PS CD player, a Linn/ Rega/Soundsmith turntable and a Magnum Dynalab MD103T FM tuner. Additional listening was done with the five-conductor, LFD-sourced Tannoy-branded cable (originally supplied for the Dimension series).

The extra earth wire did seem to offer a modest increase in dynamic range by lowering the noise floor. And a pair of 200/400W MSB M200 Platinum monoblock power amps were added to the mix, which allowed the speakers to be driven to unfeasibly high levels. Their ability to upset the neighbourhood by delivering Leftfield's alternative house album Leftism at full power and with excellent quality was deeply impressive, making this an ideal speaker for those who like to party at home.

The horn-loaded tweeter used by Dual concentric drivers has high inherent efficiency and hence plenty of headroom. While the DC10T's top end sounds clean, sweet, well balanced and nicely integrated, the horn does concentrate the treble output into a 90-degree cone, so the ratio of direct-to-reflected treble sound is lower than with a conventional direct-radiating tweeter.

This, in turn, has significant consequences for the stereo imaging, sharpening the soundstage focus, but somewhat reducing the impression of 'musicians performing in the room'.

This DC10T is not without character and its colorations might, perhaps, be a little too obvious for some tastes. Equally important, however, it supplies an uncommon degree of dynamic grip and drama, which seems more than fair compensation.

Vita Audio R2i DAB/FM radio review


The Vita Audio R2i DAB/FM radio comes in a variety of high quality finishes to suit the decor of your room


The Vita Audio R2i includes DAB and FM radio, a couple of line inputs (phono sockets at the rear, minijack at the front) and a universal iPod dock, plus a notional 20-watt amplifier and two loudspeakers, each in its own enclosure with a downward-firing reflex port.

On the top of the unit is Vita's familiar 'RotoDial' control, which isn't absolutely the most intuitive user interface we've ever seen, but works well enough. On the upmarket R4 this is removable to use as a remote: here, the remote is a separate credit card-size item.

Three different finishes are available for the R2i. Walnut is the basic option, while white or black lacquer will set you back an extra £20. Frankly, given the quality of the lacquer, that's a bargain – we were very impressed with our black sample and it seems very resistant to scuffing and scratching, too. Finish is to a very high standard generally, while the insides are neatly and efficiently assembled, but the display's a little prosaic and not great for legibility off-axis.

Various signal-processing options are on offer, including loudness, '3D sound' and simple tone controls, and be aware that 3D sound and loudness both default to 'On' when power is removed and restored, though not when the unit is switched on and off via front panel or remote. As usual with DSP, off is best.

Sound quality

If we're going to make any complaints, it will only be that FM reception isn't brilliant. Unless you are lucky and have excellent signal strength, the supplied telescopic antenna will barely suffice and really, who connects a table radio to a rooftop twig? However, DAB works much better and both it and iPod sources are quite capable of showing that this is a remarkably capable little unit.

The R2i has plenty of oomph, but also considerably more subtletly than one usually expects from the breed and it also offers a commendably neutral frequency balance. All too often, integrated units like this sound muffled, or harsh, or both. This one suffers from neither affliction. Instead, it is clear and open with very good bass and natural treble.

It has enough kick to do decent justice to a drum kit and a sufficiently flat response in the midband not to interfere with the tonal qualities of familiar voices. Turn up the wick and there is enough volume available to produce satisfying sound levels in a typical mid-size room, nor is there any hint of rattling or buzzing from within the unit.

But that's all specifics. The best part is the general feeling the R2i gives, that it is really playing music. All too many of its kind sound as if they are struggling with anything more demanding than a radio phone-in show.

This one managed the likes of Ian Dury, Mahler, Handel, various solo piano tracks, choirs – the lot, and all with huge aplomb and admirable insight. There's even a reasonable semblance of stereo, though obviously images are both narrow and rather vague.

It might look a bit expensive at first, but we would rather listen to this than to many 'systems' available at a similar price. Admirable in every way.

08 July, 2009

Abbey Road online marks 'death of traditional studio'


If you fancy letting some of the UK's leading music and sound engineers from London's world famous Abbey Road Studios master your music then you just might be in luck.

Musicians and producers can now upload their music at http://www.abbeyroadonlinemastering.com/ to have it mastered for CDs (from a mere £90 per track) or vinyl (from £150 for a 7-inch single) "to put the Abbey Road finish to their music."

The new service gives musicians the "opportunity to have recordings mastered by Abbey Road Studios' award winning engineers in their famous mastering suites" with your CD or vinyl delivered to you within five working days beginning from point of purchase.

Total Guitar magazine's Stuart Williams reminded TechRadar that "mastering is the often expensive, rarely fully understood final stage in the recording process… it's the icing on the cake of your mixes."

And, Williams added: "While there are plenty of mastering processors and packages available on a relative budget, top end equipment, experienced ears and a transparent acoustic environment are usually premium commodities. Abbey Road's new online mastering service opens up a world class level of quality at a project level price-point."

Abbey Road online

So how do you get your tunes mastered by the best? Simply head over to http://www.abbeyroadonlinemastering.com/ upload up to 2GB of uncompressed stereo WAV or AIFF audio files to a secure server (with a bit depth of 16 or 24 bits and a sampling frequency of 44.1kHz).

The studio's press release adds: "Abbey Road Online Mastering work will be carried out in its mastering rooms which house a varied range of classic analogue equipment and the latest in digital hardware and software technologies; namely the original and exceptional EMI TG mastering consoles with the SADiE 5 PCM8 digital audio workstation.

"The Studios are all also equipped with Neumann cutting lathes for vinyl, Meyer and B&W main monitoring, Benchmark A/D/A's, outboard from the likes of Prism, Weiss, Junger, SPL and TC Electronics and an extensive range of the CEDAR software plug-ins."

Jonathan Smith, General Manager, Abbey Road Studios, added that they were "delighted to launch our online mastering service and offer the expertise of our engineers to producers and musicians anywhere in the world" and that the initiative was "a fantastic opportunity to make that Abbey Road sound available to emerging talent whilst continuing our tradition for innovation within music technology."

Death of tradition

All of which begs the question - is this latest move from Abbey Road the final nail in the coffin for the traditional studio?

"Yes, the traditonal studio is dead," agrees Joe Wilson, lecturer in Popular Music at the University of Gloucestershire.

"It is very diffcult for studios to make money from just recording acts, when technology has allowed artists do it themselves and in their own environment(though with a detriment of standard).

"With Abbey Road offering this service they are cashing in on their heritage status, but it is telling that a studio with this reputation has to offer this service."

Amphion Argon 3L review




A relatively new brand on the scene, Amphion operates out of the heart of Finland and has recently brought the Argon 3L, their new Floorstander to our attention. Its particular USP is the use of waveguides to load its tweeters, for a number of very good reasons.

A waveguide is a species of horn with a truncated throat and a very wide flare. First, Amphion claims that it increases the efficiency at the bottom end of the tweeter pass-band and, therefore, allows the crossover point to be lowered, to around 1.2kHz.

Secondly, it helps match up the acoustic sizes of the bass/mid and treble drivers. Thirdly, by recessing the tweeter proper with respect to the front panel, its voice-coil-to-listener distance becomes similar to that of the cone driver, improving the time-alignment and simplifying the crossover transition.

Although details of the brand new Argon 3L are still sparse, it appears to have a great deal in common with the Argon 2 Anniversary. Both appear to share the same drive units and crossover network, but the key difference is that the 3L is a very substantial floorstander, whereas the 2 is a much smaller standmount.

While there's no question you get a much larger, very handsome and exceptionally solid enclosure here – and consequently superior bass performance – the extra cost is considerable. Whereas the Argon 2 price was £1,200-£1,400, this Argon 3L costs nearly twice that at £2,300-£2,600.

The justification is that enclosures are the most expensive part of a speaker and floorstanding enclosures need much more substantial engineering to match the performance of a standmount enclosure. It is, therefore, very significant that the Argon 3L weighs nearly 50 per cent more than a lot of other floorstanders.

Like all Amphions it has super-clean, sharp edged Scandinavian lines, very much in the Art Deco tradition. No overall grille was supplied, but the tweeter is well protected by its own grille and position: deep down the black-coloured waveguide.

The speaker comes complete with a proper plinth that improves the overall stability, enhances the appearance, and securely locates the spikes. The SEAS-sourced tweeter has a 25mm titanium-dome diaphragm, while the 165mm bass/mid driver has a 115mm metal cone surrounding a fixed 'bullet' pole extension.



Back Panel

Use the supplied foam bungs if you need to keep this speaker close to a wall

A single pair of high-quality WBT terminals is fitted, below a large diameter rear port and foam bungs are supplied to block the ports if preferred.

How do they sound?

Although it's clearly best to keep these speakers well clear of walls, if the bungs are used, some close-to-wall proximity will probably be acceptable. Interestingly, even though there is some bass excess, because it remains clean with no apparent overhang it doesn't seem to pose any sort of problem subjectively.

If anything, it is something of a bonus adding weight and scale rather than unwanted thickening or thump. That heftily engineered and notably quiet enclosure is one of this design's hallmarks, as are the essentially pistonic metal diaphragms.

Together these give the Argon 3L a distinctive character – smooth, clean, neutral and very well controlled, with a wide dynamic range as a consequence of the low enclosure noise floor. As a result, it sounds a little less 'busy' than some of the alternatives and a little less dynamically demonstrative, too, but the fine accuracy and coherence are their own reward.

Coloration is low, especially through the bass region, though voices do have a hint of nasality. Focus is very good, so images have a welcome solidity and good perspectives.

Audio Physic Sitara review




The Sitara hi-fi speaker is one of the less costly models in Audio Physic's portfolio and replaces the Spark. At £1,950 per pair, the Sitara is £450 more than the Spark cost four years earlier, much of which is due to the appreciation of the Euro against the Pound over the interregnum.

A most attractive-looking speaker, it combines an unusually slim front with elegantly curved sides and a pronounced (seven degrees) backward tilt, to create a classy speaker that oozes elegant discretion. A spirit level is even included with the accessories.

The curved sides – wider in the middle than at the front and back edges – should increase the panel stiffness and help avoid the parallel faces that create standing waves, while the backward tilt ought to assist mid-to-treble time-alignment.

Our samples came in a very smooth and attractive cherry real-wood veneer, one of seven alternative finishes available: five different woods, plus high-gloss black or white.

Four steel outriggers with plastic trim pieces are screwed into the bottom surface to extend the stability footprint and also provide secure spike-fixing.




Locking Nuts

The locking nuts for the speaker cable are made of plastic, offering a secure fit

Thumbwheels act as lock-nuts here; interestingly (not to mention somewhat ironically), because these are made of plastic rather than metal, they're actually more secure and as a result, offer a much tighter fit – other manufacturers please take note!

There are three drive units in toto here – a 27mm soft-dome tweeter for the treble, plus two 135mm main drivers with cast alloy frames, 100mm plastic cones and large cylindrical central pole piece extensions.

Though apparently identical, the latter pair operate in a two-and-a-half-way configuration, the lower unit just operating through the bass region up to 500Hz, while the upper main driver covers both the bass and midrange frequencies.

Driver output is supplemented by a rear port set well above a solitary pair of highclass WBT terminals that are mounted on a substantial alloy panel and deliberately mechanically decoupled.
Sound quality

The Sitara not only looks very elegant it sounds that way, too. It may not have the most dynamically vigorous sound around, but the overall quality is very well judged within the inevitable limitations imposed by the price and engineering constraints.

This is not a large loudspeaker and while many will regard that as a positive virtue in itself, it does mean there's some lack of weight and scale compared to larger and more muscular designs. What bass there is could be smoother, but it's attractively clean, lively and purposeful, so one is rarely conscious of its limitations.

The lower midband has a little too much warmth and a mild degree of texture thickening, but the upper mid and presence voicing is exceptionally well-judged. Here the Sitara sounds beautifully coherent, sweet and expressive, delivering well-focused stereo images with plenty of air, fine perspectives and an impressive freedom from boxy effects.

The treble is also smooth and open without ever drawing unwelcome attention to itself.

(Reviewed by Paul Messenger - Hi Fi Choice Issue 322)

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